000			03775cam a2200421 i 4500
001			ocn812194075
003			OCoLC
005			20240726105400.0
008			080425s2009 ilua obq s001 0deng
010			_a2019718435
040			_aDLC _beng _erda _cDLC _dYDXCP _dE7B _dNT _dJSTOR _dP@U _dIDEBK _dOCLCF _dNLGGC _dEBLCP _dAGLDB _dMERUC _dIOG _dEZ9 _dSTF _dVTS _dWYU _dLVT _dA6Q _dDKC _dKCP _dOCLCE
020			_a9780252091261 _q((electronic)l(electronic)ctronic)((pa(print & electronic)rback)a((pa(print & electronic)rback)rint & (electronic)l(electronic)ctronic)rback)ub
020			_a9781283735384
042			_adlr
050	0	0	_aPN1998 _b.S255 2009
049			_aMAIN
100	1		_aFowler, Catherine, _d1969- _e1
245	1	0	_aSally Potter /Catherine Fowler.
260			_aUrbana : _bUniversity of Illinois Press, _c(c)2009.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aContemporary film directors
504			_aIncludes filmography: pages 135.-138.
505	0	0	_aLondon in the 1970s: performance on- and offscreen -- _tPower plays: Potter's search for a "frame of her own" -- _tAbsent women and tales taken apart: Thriller and the Gold diggers -- _tTowards pleasure, developing style: Orlando and The tango lesson -- _tFinally tears: The man who cried and YES -- _tEndings -- _tAn interview with Sally Potter.
520	0		_aThis survey of Sally Potters work documents and explores her cinematic development from the feminist reworking of Puccinis opera La Boheme in Thriller to the provocative contemplation of romantic relationships after 9/11 in Yes. Catherine Fowler traces a clear trajectory of developing themes and preoccupations and shows how Potter uses song, dance, performance, and poetry to expand our experience of cinema beyond the audiovisual._x000B__x000B_Potter has relentlessly struggled against predictability and safe options, and her work provides an example of the complexities of being a woman in charge. Instead of the quest to find a romantic partner that drives mainstream cinema, Potters films feature characters seeking answers to questions about their sexual, gendered, social, cultural, and ethnic identities. They find answers by retelling stories, investigating mysteries, traveling and interacting with people. At the heart of Potters work we find a concern with the ways in which narrative has circumscribed the actions of women and their ability to act, speak, look, desire, and think for themselves. Her first two films, Thriller and The Gold Diggers, largely deconstruct found stories, cliches, and images. By contrast her later films create new and original narratives that place female acts, voices, looks, desires and thoughts at their center._x000B__x000B_Fowlers analysis is supplemented by a detailed filmography, bibliography, and an extensive interview with the director.
530			_a2 _ub
538			_aMaster and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. _uhttp://purl.oclc.org/DLF/benchrepro0212 _5MiAaHDL
583	1		_adigitized _c2012 _hHathiTrust Digital Library _lcommitted to preserve _2pda _5MiAaHDL
600	1	0	_aPotter, Sally _xCriticism and interpretation.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=569957&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _m2009 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c98516 _d98516
902			_a1 _bCynthia Snell _c1 _dCynthia Snell